settima

buddhism

聖母観音大菩薩 [Seibo Kannon daibosatsu / Eros Eterna] (Kōji Wakamatsu, 1977)

Mar

7

immortality

聖母観音大菩薩 (1977)

The yao bikuni (Eiko Matsuda) rises from the ocean. DP: Hideo Itō.

An immortal character on the date Highlander (1986) was released.

– Dont raise your voice! I'll kill you if you make a sound.

– Would you please?

When a woman eats the flesh of a 人魚 (ningyo, litt. “human fish” but in Western context commenly translated as “mermaid”), she may become a 八百比丘尼 [yao bikuni], an 800 year* old Buddhist nun granted youth and longevity.

 

*The number 8 symbolises growth and prosperity. Larger numbers starting with 8 indicate that the amount is endless, comparable to saying “hundreds/thousands/millions of […]” in English. Therefore, 800 years can be understood as immortal.

行者 [Jingang Jing / Walker] (Tsai Ming-liang, 2012)

Dec

8

बोधि

行者 (2012)

The monk (Kang-sheng Lee) walking Hong Kong. DP: Tsai Ming-liang.

A Buddhist theme for Bodhi Day.

“The reason why I wanted to do something like the Walker series is rooted in my obsession with the idea of Xuanzang, and the characteristics of the times he lived. There was no car, no train, no airplane, and no cell phone. He just walked.”

– Tsai Ming-liang, via

楢山節考 [Narayama-bushi kō / The Ballad of Narayama] (Keisuke Kinoshita, 1958)

Dec

11

International Mountain Day

楢山節考 (1958)

Tatsuhei (Teiji Takahashi) with his mother Orin (Kinuyo Tanaka) in a bamboo carrier on his back. She's combing his hair. Around them the mountain range. DP: Hiroshi Kusuda.

Travel mountains on International Mountain Day. A starving community has come to the agreement that the elders approaching the age of seventy are to be carried up Narayama mountain to die. The day prior to the mountain's festival, sixty-nine year old Orin prepares to leave, carried by her son Tatsuhei.

“This winter… I'm going to the mountain. My mother went to the mountain, as did the mother-in-law of our home. So I have to go too.”

– Orin

In Keisuke Kinoshita's highly stylised 楢山節考, the arguably cruel (and most likely fictional) practice – of 姥捨て [ubasute, abandoning an old woman] – is superbly abstracted. Narration, dramatic lighting, colour filters and very obviously a soundstage underline that what we're watching is not a film, but a kabuki play.

盘丝洞 [Pan si dong / The Cave of the Silken Web] (Dan Duyu, 1927)

Jul

14

Pandemonium Day

盘丝洞 (1927)

One of the many demons accompanied by the sisters, having a vision in a cup. DP: Ganting Dan.

Dan Duyu's 盘丝洞 is, in its most literal sense, a fantastic silent interpretation of Wu Cheng'en's 西遊記 / Journey to the West. Monk Tang Sanzang (Meikang Jiang) finds himself trapped in a cave with seven beautiful sisters. Two of Tang Sanzang's faithful disciples, Sun Wukong (the Monkey King) and Zhu Bajie (Pigsy: half man, half pig), need to save him before one of the sisters takes the celibate monk as her husband. What follows is a vigorous display of #wuxia, horror, monkey shenanigans, and – during the pandemonium unfolding in the final act – a small glimpse into the vast pantheon of China's gods and demons.

“Today is our Queen's wedding day, let us drink it up!”

Note that some of the reels are still missing, and the English translation I found is subjective at best, so have a translation app at the ready. Nevertheless, take a moment to dim the lights, and accompany Tang Sanzang, the Monkey King, and Pigsy on their pilgrimage. Even if only for a little while.